Nightmares

pilots, screenwriting, storytelling, T.V. writing

Someone trapped a girl in a carved out space beneath the cushions of a shitty yellow sofa for an entire year.

That’s the  nightmare that woke me up.

I’m putting it in my new pilot. I’ll tweak it — would a person fit inside a sofa? But the point is I love using dreams in my work — a nightmare a few months ago became an important piece of the plot of my Iraq pilot.

Dreams are important because they are made of meaning. It’s usually not clear at first what they mean. Either the act of writing them down forces you to project your conscious logic onto them to show you what you’re thinking, or the act of writing them down processes the unconscious into the known. What arises in these written descriptions are like crystal balls to what’s inside us. And what’s inside us is what needs to go on the page. Because that’s what’s inside our characters, and inside our audience.

In this new pilot, I knew I needed a horrific, long-term crime hiding in plain sight among the characters — something they could live with and not know they were living with it, like cancer if someone could go home from their job at night and make a little cancer. Perhaps that’s what abuse is, in the context of a family. Perhaps one character goes home to reveal she’s living with abuse — and the other goes home to reveal he’s living with a girl trapped inside his sofa. Haven’t nailed this down yet.

This is my process. I didn’t even know this character existed until I woke with my heart racing in the middle of the night. I just knew something ominous needed to be hiding in plain sight among these characters. I leave everything loose and then nail pieces down bit by bit as they make sense to me. First comes knowing there needs to be an ominous plain-sight crime (because of the subject matter of the piece), then I wake with a nightmare supplying the crime, then I realize there has to be a character who works with the main character to be the perpetrator of the crime, and so on. Structure and character evolve from metaphor.

When the nightmare woke me up, I felt like the girl stuffed beneath the sofa cushions meant I had been feeling locked down, invisible, muzzled. Suppressed. So porting the dream straight into my pilot leverages all that meaning for me, accesses the feeling I wasn’t aware of until I described it. Stories tell what you’re feeling without having to unpack it — because often we don’t want to put into words our most important stuff. One great image is enough.

  • New Blog Post: Nightmares http://bit.ly/9DtdSg

  • Mike the Writer

    So when do we (or just me) get to read the Iraqi pilot?

    • Mike, send me your email address if you want to read it. juliebush@gmail.com
      Though I’m not looking for notes as I just don’t have time to revise it — I’m working on so much other stuff now. However, I’m very flattered that you want to read it. Thanks so much, X Julie